PAR ABOLIC UNIVERS Typographic Rules in Space Trajectories
PAR ABOLIC UNIVERS
PAR ABOLIC UNIVERS Typographic Rules in Space Trajectories
ELLEN WON G
Copyright Š 2013 by Ellen Wong
First Edition 6 5 4 3 2 1
All rights reser ved. No par t of this book may be reproduced in any form or by any means without permission from the publisher (or in the case of photocopying in Canada, without a licence from Access Copyright, the Canadian Copyright Licensing Agency). Critics are welcome, of course, to quote brief passages by way of criticism and review.
C
PO Box 22942
San Jose, CA 95121
Curve Press
USA
for my family, friends, & colleagues who have helped me to find my way
CONTENTS
Chapter 1: Apostrophe & Quotation Marks
Chapter 2: Dashes
14
Chapter 3 : Paragraphs
Chapter 4 : Leading
20
26
Chapter 5: Kerning & Tracking
32
08
Chapter 1: APOSTROPHE & QUOTATION MARKS
’
apostrophe
APOSTROPHE & QUOTATION MARKS Apostrophes and quotation marks are also known as curly or smart quotes.
PA R ABOLI C UN IV ERS
A P OS T RO PH E & QUOTAT ION M A RKS
”
double right quotation mark
single left quotation mark
double left quotation mark
“ ‘
hanging quotes
non-hanging quotations
PA R ABOLI C UN IV ERS
H A NGING QUOT ES
HANGING QUOTES Quotation marks carve out chunks of white space from the edge of the text. The proper use of hanging quotes makes a clean edge by pushing the marks into the margin.
Chapter 2: DASHES
hyphen
em dash
PA R ABOLI C UN IV ERS
DASH ES
en dash
DASHES An em dash is one em wide—the width of the point size of the typeface. An en dash is half the width of an em.
PA R ABOLI C UN IV ERS
EM, EN, & H Y PH EN USAG E
---------
−−−−−−−−
———————
HYPHEN
EN DASH
EM DASH
Connects linked words and
Connects numbers. It means
Expresses strong
phrases; also breaks words
“up to and including.” No
grammatical breaks.
at the ends of lines.
spaces are used around it.
No spaces are used around em dashes.
Chapter 3: PARAGRAPHS
ALIGNMENT Each mode of alignment carries unique formal qualities, cultural associations, and aesthetics risks.
justified
flush right
PA R ABOLI C UN IV ERS
A LIGNM EN T
centered
flush left
outdent
PA R ABOLI C UN IV ERS
PA R AGR A PH M A RKS
indent
MARKING PARAGRAPHS Paragraphs are typically indicated by an indent, outdent, line break, or symbol.
Chapter 4: LEADING
leading at 120%
LEADING The distance from the baseline of one line of type to another is called leading or line spacing. The default setting in most layout and imaging software is 120% of the type size. Thus 10 pt type is set with 12 pts of leading.
PA R ABOLI C UN IV ERS
L E A D ING
leading
VARIATION IN LEADING Reducing the standard distance of leading creates a denser typographic color, while risking collisions between ascenders and descenders. On the other hand, as leading increases, lines of type become independent graphic elements rather than parts of an overall visual shape and texture.
7/8.4 pt Univers Roman
7/6 pt Univers Roman
PA R ABOLI C UN IV ERS
VA RI AT ION IN L E A D ING
7/10 pt Univers Roman
Chapter 5: KERNING & TRACKING
kerning
PA R ABOLI C UN IV ERS
K ERNING
KERNING Kerning is an adjustment of the space between two letters.
TRACKING Adjusting the overall spacing of a group of letters is called tracking or letterspacing. By expanding the tracking across a word, line, or entire block of text, the designer can create a more airy, open field. Negative tracking, rarely desirable in text sizes, can be used sparingly to help bring up a short line of text.
expanded tracking
PA R ABOLI C UN IV ERS
T R AC K ING
normal tracking
negative tracking
Information in this book can be at tributed to the sources listed. Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. New York: Princeton Architectural, 2004. Print. Peter, Yves. “Styles, Weights, Widths - It ’s All in the (Type) Family | The FontFeed.” The Font Feed. N.p., 4 Feb. 2009. Web. 10 Apr. 2013. Pohlen, Joep. Let ter Fountain : (on Printing Types). Köln : Taschen, 2011. Print.
This book was designed by Ellen Wong. It was edited, set into type, and printed in San Jose. The book was bound by Chum’s Design & Print in San Francisco, CA. The book title was inspired by Graphic Designer Eric Dosier. The tex t face is Univers, designed by Adrian Frutiger and originally issued by Linotype Foundr y. The paper used in this book is Moab Lasal Photo Mat te 235. It is of archival quality and acid-free.